Based on the broadway musical, two women convicted of murder in the 1920's become celebrities by manipulating the media.

"Not since the 1972 Cabaret has there been a movie musical this stirring, intelligent and exciting.Desson Howe, Washington Post"More fun than a high kick to the head...Kim Linekin, EYE Weekly"...it's Zeta-Jones who keeps you watching from start to finish.Manohla Dargis, L.A. Times"The movie is a total blast...Mick LaSalle, San Francisco Chronicle

Editor's Note

This Hollywood adaptation of the classic Broadway musical sparkles with glamour and reverberates with the energy of good, old-fashioned song and dance. As the film leaps into its first riveting act, Velma Kelly (Catherine Zeta-Jones), one half of the famous number she performs with her sister, arrives at the night club late, disheveled, and with blood on her hands. Nonetheless, she goes onstage unhindered and wows the crowd with her shimmying rendition of "All That Jazz." Roxie Hart (Renee Zellweger) a young blond who dreams of someday being famous like Velma, watches from the audience with eyes full of envy. Later, as the cops pick up Velma for the murder of her sister, sending her fame to all-time heights as she becomes a tabloid sensation, Roxie also commits a crime of passion--shooting a lover who falsely promised to secure her cabaret debut. The girls wind up together in jail, where Mama Morton (Queen Latifah), a compassionate guard, is their only hope of redemption; and Billy Flynn (Richard Gere) is the lawyer who can get them out. There, through wonderfully familiar songs like "Razzle Dazzle," "Cell-Block Tango," and "Cellophane Man" Roxie and Velma tell their story of competing for bad-girl celebrity.

Director Rob Marshall presents a loveable CHICAGO that shares all the grit and grime of the Bob Fosse Broadway original with phenomenal performances by this grouping of Hollywood stars. The dizzying camerawork and dazzling sets make an easy transition from stage to film.

Chicago Sun-Times 8 of 10This story, lightweight but cheerfully lurid, fueled Bob Fosse, John Kander and Fred Ebb's original stage production of Chicago, which opened in 1975 and has been playing somewhere or other ever after--since 1997 again on Broadway. Fosse, who grew up in Chicago in the 1930s and 1940s, lived in a city where the daily papers roared with the kinds of headlines the movie loves. Killers were romanticized or vilified, cops and lawyers and reporters lived in each other's pockets, and newspapers read like pulp fiction. There's an inspired scene of ventriloquism and puppetry at a press conference, with all of the characters dangling from strings. For Fosse, the Chicago of Roxie Hart supplied the perfect peg to hang his famous hat. - Roger Ebert

Rolling Stone 9 of 10Who knew the Z in Zellweger and Zeta-Jones stood for zowie? They pour their hearts into the John Kander and Fred Ebb score (the team's best after Cabaret) and dance with flair. Did they have help in the editing? Probably. Who cares? The usually laid-back Gere really turns it on. Wait till you see him tap-dance. Leggy Zeta-Jones is so hot in the "All That Jazz" number, she's flammable. And Zellweger defines delicious. Even when Roxie abuses her doormat husband, Amos (John C. Reilly stops the show with "Mr. Cellophane"), Zellweger wins our hearts. That's what makes her dangerous. Just like the movie. Depraved? I'd call it dynamite. - Peter Travers

James Berardinelli's ReelViews 8 of 10The movie represents good, solid entertainment. It's not nearly as rousing as the Broadway revival (then again, it's rare that the cinematic version of a musical comes close to the stage incarnation), but, for those unable or unwilling to see a live production, it represents a sparkling replacement. The film strikes a nice balance between the lavishly overproduced likes of Baz Lurhmann's Moulin Rouge and the less openly flamboyant movies from the '50s. The style, by intention, echoes that of the late, great choreographer Fosse. - James Berardinelli

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